Run: 2026-02-25-01KJ95BQC5CD0NS91P06WM03ER

Run Details

Duration:
32.9s
Cost:
$0.003532
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Romance genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The door swung inward, not entirely of its own volition, but held open just enough to frame a figure that stole the meagre breath from Aurora Carter’s lungs. Lucien Moreau. Here. In the cramped entryway of her flat above Silas’s Bar. The faint, lingering scent of fried onions and cheap lager from downstairs seemed to recoil from the immaculate, charcoal-grey wool of his tailored suit. His eyes, one amber, the other a void-like black, swept over her in a single, unhurried appraisal. They landed on the half-dismantled kettle lying on the floor beside a scattering of tools, then tracked back up her stained jeans and the smudge of grease on her cheek. A faint, almost imperceptible upturn of his lips was the only outward sign he registered her dishevelled state. "Aurora," he said, his voice the low rumble of distant thunder, threaded with the faint, melodious lilt of Marseille. "A pleasure." "Lucien." The name tasted like ash on her tongue. She forced her hands, which had begun to clench into fists, into the pockets of her jeans. "You’re a long way from Mayfair." He stepped inside, closing the door behind him with a soft click that felt impossibly loud over the muffled, tinny bass from the pub below. He didn’t wait for an invitation, moving with a fluid grace that was almost predatory. Even the air around him seemed to shimmer, charged with an energy that put her teeth on edge. "And you are a long way from... anywhere predictable," he replied, his gaze finally settling on the chaotic array of books and papers piled precariously on her small kitchen table. "Still wrestling with arcane texts, I see. Or have you branched out into domestic appliance repair?" His tone was smooth, laced with amusement, but beneath it pulsed something else. A warning? A threat? With Lucien, it was always difficult to tell. She ignored the jab at her surroundings, at her life. She had chosen this. This relative obscurity over the gilded cages he inhabited. Or perhaps, she'd fled one cage only to land above another. "What do you want, Luc?" She kept her voice level, cool. Years of navigating her father’s courtroom and the London underworld had honed her composure, but his presence frayed her edges like cheap silk. The childhood crescent scar on her left wrist throbbed infinitesimally, a phantom reminder of a time when danger felt more concrete, less... nuanced. He stopped before the table, his ivory-handled cane tapping softly against the worn linoleum. He didn’t touch anything, but his presence seemed to impose itself on the room, pushing back the shadows and the comforting scent of her meagre existence. "Direct as always," he mused, running a gloved finger along the spine of a leather-bound tome she’d recently acquired. "A quality I once admired. Perhaps I still do." He looked directly at her, his heterochromatic eyes pinning her in place. "Rumours have a way of travelling, even to those of us who prefer to remain detached from the gutter's gossip." "Rumours about what?" She met his gaze, refusing to be intimidated. His power was palpable, a dark, intoxicating current that had drawn her in once before, foolishly. "About an incident. A rather unpleasant entanglement with certain individuals who have a… *disdain* for your employer's more dubious ventures." He paused, letting the implication hang in the air. "Yu-Fei Cheung’s Golden Empress delivered more than just chow mein last week." Her stomach clenched. She’d delivered a package for Cheung, a discreet one, to a location vaguely reminiscent of an abandoned warehouse district on the city’s periphery. She’d been paid handsomely, asked no questions, and tried to forget the unsettling silence of the drop-off point. "I don't know what you're talking about." "Don't you?" He took a step closer, and the scent of expensive cologne mixed with something deeper, elemental, filled the small space. "A shipment went missing. Or rather, it was intercepted. Viciously. The men involved were... *enthusiastic*. Far too enthusiastic for mere thieves. Their methods suggest they were testing the waters. Or perhaps, ensuring a message was delivered." He was speaking in riddles, but the weight of his words was undeniable. Cheung's 'dubious ventures' might have finally caught up with one of his delivery girls. And Lucien, the fixer who dealt in secrets and shadows, somehow knew about it already. "And *you're* here because?" She pushed out the question, her voice tight. This was his scene. His game. He traded in information, in threats, in the invisible strings that manipulated the city’s underbelly. "Because," he said, his voice dropping to a near purr, "the individuals who intercepted that particular delivery are not... discerning. They operate with the subtlety of a sledgehammer. And they have a penchant for collateral damage. Your name, Aurora, has been mentioned." A cold dread began to unfurl in her chest, battling the residual shock of his appearance. She hadn't been stupid. She knew Cheung played in dangerous waters, but she'd thought herself insulated. Just a hired hand, unnoticed. "They know I delivered it?" "They know *you* were the last one to touch it before it vanished." He tilted his head, his gaze sharpening. "And these particular gentlemen have a rather unpleasant way of… persuading people to reveal what they know. Or, failing that, making an example of them." She swallowed, the dryness in her throat suddenly overwhelming. The crescent scar on her wrist felt phantomly warm. Evan’s volatile temper, the fear that had driven her from Cardiff, felt quaintly distant compared to the imminent, nameless threat Lucien was painting. "And *you* care because?" She forced herself to ask, the historian in her, the analyst, fighting against the rising tide of primal fear. Why would Lucien Moreau, the impeccable fixer, warn her? Unless… He held her gaze for a long moment, the silence stretching, punctuated only by the distant groan of the pub closing down and the drip of a leaky tap somewhere deeper in the building. His left eye, the amber one, seemed to hold a flicker of something she couldn't quite decipher – regret, perhaps? Or a calculated assessment of her value. "Let's just say," he finally murmured, the corner of his mouth twitching again, "that certain parties are beginning to take an interest in your… unique skill set. Your knack for finding things. Your peculiar resilience. Your ability to navigate spaces others deem impenetrable." He took another slow step towards her, closing the remaining distance until he stood mere inches away. The air crackled, thick with unspoken history, with the potent, forbidden allure that still snagged at her. She could smell the faint scent of ink on his dark suit, understand the meticulous care he put into every aspect of his persona, and it was terrifyingly seductive. "They believe you possess knowledge you shouldn't. Or, perhaps," he whispered, his gaze dropping momentarily to the smudge of grease on her cheek, "they believe you are simply… *available*. A loose end. And loose ends, Aurora, must be tied off." His hand, clad in fine black leather, rose slowly. She instinctively flinched, bracing for a blow, a rough grab. But his fingers merely reached out, gently brushing the grease smudge from her skin. The touch was feather-light, yet it sent a jolt through her, warm and electric, banishing the last vestiges of her professional coolness. "You never were one for loose ends, were you?" he murmured, his thumb lingering just below her jawline. "Always so neat. So… contained." His eyes met hers again, and this time, the calculated assessment was overlaid with something far more dangerous. Attraction. Possession. "They will come for you, Aurora. Soon. And when they do, running won't be an option. Not like last time." Her breath hitched. *Not like last time.* The implication was clear. He knew about Evan. He knew about her flight. And he knew these new hunters wouldn't be as easily outrun. His fingers traced the edge of her jaw, a possessive caress that sent a shiver down her spine, a traitorous tremor that had nothing to do with fear. "Therefore," he continued softly, his voice dropping to a husky whisper, his eyes devouring hers, "you have two choices. You can wait for them to find you and make a mess. Or, you can come with me. I can offer… protection. For a price, of course." The silence that followed was deafening, broken only by the distinct sound of a heavy boot striking metal somewhere on the street below, followed by a gruff shout. Then another, closer. Too close. Lucien’s head snapped towards the sound, his eyes hardening, the soft predatory gaze replaced by something sharp, urgent. His hand retracted from her face, and he took a swift, decisive step back, his cane suddenly in his grip, blade glinting infinitesimally in the dim light. “It would seem,” he said, his voice losing its soft purr and gaining a brutal edge, “that your ‘loose end’ has presented itself rather prematurely.” Before Rory could even process his words or fully pull back from the dangerous intimacy they had shared, the heavy thud of multiple footsteps pounded up the outside stairs, accompanied by the guttural, unmistakable sounds of men breaking down a door. Her door.
created_at"2026-02-25T01:07:06.768Z" 2/25/2026, 1:07:06 AM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1364
moderation_latency(null)
generation_time32830
tokens_prompt4556
tokens_completion7881
native_tokens_prompt4440
native_tokens_completion8634
native_tokens_completion_images0
native_tokens_reasoning6609
native_tokens_cached4062
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"STOP"
usage0.00353202
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency1364
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771981626-K3dAjsoBEGzvAW4JpmJV"
upstream_id(null)
total_cost0.00353202
cache_discount0.00036558
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags19
adverbTagCount4
adverbTags
0"The name tasted like [like]"
1"He looked directly [directly]"
2"he finally murmured [finally]"
3"he continued softly [softly]"
dialogueSentences29
tagDensity0.655
leniency1
rawRatio0.211
effectiveRatio0.211
80.43% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1533
totalAiIsmAdverbs6
found
0
adverb"softly"
count2
1
adverb"suddenly"
count2
2
adverb"slowly"
count1
3
adverb"gently"
count1
highlights
0"softly"
1"suddenly"
2"slowly"
3"gently"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1533
totalAiIsms31
found
0
word"lilt"
count1
1
word"charged"
count1
2
word"predictable"
count1
3
word"chaotic"
count1
4
word"pulsed"
count1
5
word"navigating"
count1
6
word"silk"
count1
7
word"throbbed"
count1
8
word"reminder"
count1
9
word"impose"
count1
10
word"comforting"
count1
11
word"palpable"
count1
12
word"implication"
count2
13
word"stomach"
count1
14
word"silence"
count3
15
word"ensuring"
count1
16
word"weight"
count1
17
word"flicker"
count1
18
word"calculated"
count2
19
word"navigate"
count1
20
word"unspoken"
count1
21
word"electric"
count1
22
word"traced"
count1
23
word"down her spine"
count1
24
word"whisper"
count1
25
word"glinting"
count1
26
word"footsteps"
count1
highlights
0"lilt"
1"charged"
2"predictable"
3"chaotic"
4"pulsed"
5"navigating"
6"silk"
7"throbbed"
8"reminder"
9"impose"
10"comforting"
11"palpable"
12"implication"
13"stomach"
14"silence"
15"ensuring"
16"weight"
17"flicker"
18"calculated"
19"navigate"
20"unspoken"
21"electric"
22"traced"
23"down her spine"
24"whisper"
25"glinting"
26"footsteps"
33.33% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches3
maxInWindow3
found
0
label"weight of words/silence"
count1
1
label"sent a shiver through"
count2
highlights
0"the weight of his words"
1"sent a jolt through"
2"sent a shiver down"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences88
matches
0"o with fear"
45.45% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount6
narrationSentences88
filterMatches(empty)
hedgeMatches
0"seemed to"
1"tried to"
2"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences98
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans7
markdownWords10
totalWords1534
ratio0.007
matches
0"disdain"
1"enthusiastic"
2"you're"
3"you"
4"you"
5"available"
6"Not like last time."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions23
wordCount1148
uniqueNames14
maxNameDensity0.52
worstName"Lucien"
maxWindowNameDensity1.5
worstWindowName"Lucien"
discoveredNames
Aurora1
Carter1
Moreau2
Silas1
Bar1
Marseille1
Lucien6
Years1
London1
Cheung3
Cardiff1
Attraction1
Evan2
Rory1
persons
0"Aurora"
1"Carter"
2"Moreau"
3"Silas"
4"Lucien"
5"Cheung"
6"Evan"
7"Rory"
places
0"Marseille"
1"London"
2"Cardiff"
globalScore1
windowScore1
75.37% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences67
glossingSentenceCount2
matches
0"tasted like ash on her tongue"
1"quite decipher – regret, perhaps"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.652
wordCount1534
matches
0"not entirely of its own volition, but held open just enough to frame a figure"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences98
matches(empty)
50.90% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs34
mean45.12
std14.81
cv0.328
sampleLengths
065
165
221
332
458
546
659
757
840
960
1027
1141
1251
1358
1442
1533
1642
1737
185
1945
2041
2133
2261
2343
2463
2540
2655
2763
2831
2974
3033
3145
3225
3343
97.29% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences88
matches
0"been paid"
1"was overlaid"
86.36% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs176
matches
0"was speaking"
1"was painting"
2"was deafening"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences98
ratio0.01
matches
0"His left eye, the amber one, seemed to hold a flicker of something she couldn't quite decipher – regret, perhaps?"
98.68% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount771
adjectiveStacks0
stackExamples(empty)
adverbCount32
adverbRatio0.041504539559014265
lyAdverbCount15
lyAdverbRatio0.019455252918287938
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences98
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences98
mean15.65
std10.74
cv0.686
sampleLengths
028
12
21
310
424
517
630
718
819
92
109
1117
126
1325
1415
1518
1630
1716
1813
192
202
218
2210
234
249
2511
2611
2723
2822
291
3014
3126
3219
3321
3420
3511
3616
3729
3812
393
4023
4118
427
4322
4436
4513
4614
4715
4812
494
64.63% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.4489795918367347
totalSentences98
uniqueOpeners44
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences76
matches
0"Even the air around him"
1"Just a hired hand, unnoticed."
2"Then another, closer."
ratio0.039
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount48
totalSentences76
matches
0"His eyes, one amber, the"
1"They landed on the half-dismantled"
2"he said, his voice the"
3"She forced her hands, which"
4"He stepped inside, closing the"
5"He didn’t wait for an"
6"he replied, his gaze finally"
7"His tone was smooth, laced"
8"She ignored the jab at"
9"She had chosen this."
10"She kept her voice level,"
11"He stopped before the table,"
12"He didn’t touch anything, but"
13"he mused, running a gloved"
14"He looked directly at her,"
15"She met his gaze, refusing"
16"His power was palpable, a"
17"He paused, letting the implication"
18"Her stomach clenched."
19"She’d delivered a package for"
ratio0.632
45.53% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount63
totalSentences76
matches
0"The door swung inward, not"
1"The faint, lingering scent of"
2"His eyes, one amber, the"
3"They landed on the half-dismantled"
4"A faint, almost imperceptible upturn"
5"he said, his voice the"
6"The name tasted like ash"
7"She forced her hands, which"
8"He stepped inside, closing the"
9"He didn’t wait for an"
10"he replied, his gaze finally"
11"His tone was smooth, laced"
12"She ignored the jab at"
13"She had chosen this."
14"This relative obscurity over the"
15"She kept her voice level,"
16"Years of navigating her father’s"
17"The childhood crescent scar on"
18"He stopped before the table,"
19"He didn’t touch anything, but"
ratio0.829
65.79% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences76
matches
0"Before Rory could even process"
ratio0.013
17.86% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences40
technicalSentenceCount7
matches
0"She forced her hands, which had begun to clench into fists, into the pockets of her jeans."
1"He stepped inside, closing the door behind him with a soft click that felt impossibly loud over the muffled, tinny bass from the pub below."
2"He didn’t wait for an invitation, moving with a fluid grace that was almost predatory."
3"He traded in information, in threats, in the invisible strings that manipulated the city’s underbelly."
4"Evan’s volatile temper, the fear that had driven her from Cardiff, felt quaintly distant compared to the imminent, nameless threat Lucien was painting."
5"His fingers traced the edge of her jaw, a possessive caress that sent a shiver down her spine, a traitorous tremor that had nothing to do with fear."
6"The silence that followed was deafening, broken only by the distinct sound of a heavy boot striking metal somewhere on the street below, followed by a gruff sho…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags19
uselessAdditionCount8
matches
0"She kept, cool"
1"He looked directly, his heterochromatic eyes pinning her in place"
2"She met, refusing to be intimidated"
3"She pushed, her voice tight"
4"he said, his voice dropping to a near purr,"
5"He tilted, his gaze sharpening"
6"he finally murmured, the corner of his mouth twitching again,"
7"he murmured, his thumb lingering just below her jawline"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount5
fancyTags
0"She forced (force)"
1"he finally murmured (murmur)"
2"he whispered (whisper)"
3"he murmured (murmur)"
4"he continued softly (continue)"
dialogueSentences29
tagDensity0.31
leniency0.621
rawRatio0.556
effectiveRatio0.345
68.7210%